Partitions Numériques de BASS Sonata pour Quatuor de Cuivres: 2 trompettes, Cor, trombone

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BASS Sonata
Non classifié 717

Piano & claviers
Piano seul 111
Piano Facile 6
Orgue 4
Accompagnement Piano 3
Accordéon 2

Piano, Voix et Guitare 1
2 Pianos, 4 mains 1

+ 2 instrumentations

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Guitares
Guitare 20
Guitare notes et tablatures 3
Basse electrique 2
Ukulele 1
2 Mandolines (duo) 1

Mandoline 1

+ 1 instrumentations

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Voix
Chorale 2 parties 1
Voix Mezzo-Soprano, Piano 1
Voix duo, Piano 1
Chorale SATB 1

Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 112
Flûte traversière 88
Flûte, Clarinette et Basson 62
Flûte, Hautbois, Basson 56
Flûte, Hautbois, Clarinette, Basson 51

2 Flûtes traversières (duo) 45
Flûte à bec Alto, Basse continue 42
3 Clarinettes (trio) 39
3 Flûtes à bec (trio) 37
2 Clarinettes (duo) 34
Flûte traversière et Piano 33
Flûte traversière, Basse continue 31
Clarinette Basse, Piano 30
Hautbois, Basson (duo) 29
2 Clarinettes, Basson 28
Quatuor de Clarinettes: 4 clarinettes 27
Flûte à Bec 22
Hautbois, Clarinette, Basson (trio d'anches) 17
Clarinette, Basson (duo) 17
Flûte à Bec, Piano 15
Trio de Flûtes: 3 flûtes 13
Ensemble de Clarinettes 12
2 Flûte à bec (duo) 11
Flûte à bec Soprano, Basse continue 7
Clarinette et Piano 7
Ensemble de Flûtes 7
2 Saxophones (duo) 6
Flûte et Guitare 5
Quatuor de Flûtes à bec 5
Hautbois, Piano (duo) 5
Flûte, Hautbois, Clarinette (trio) 5
Quatuor de Flûtes : 4 flûtes 5
Flûte à bec Soprano 4
2 Hautbois et Basson 4
2 Hautbois (duo) 4
Quintette de Clarinettes: 5 clarinettes 4
2 Flûtes, Basse continue 4
Saxophone Soprano et Piano 3
Saxophone Alto et Piano 3
3 Saxophones (trio) 3
Ensemble de saxophones 3
Clarinette 2
Flûte, Violon et Violoncelle 2
Clarinette (partie séparée) 2
Saxophone Tenor et Piano 2
Quatuor de Saxophones: 4 saxophones 2
Flûte, Violon 1
Ensemble à vent 1
Saxophone Alto 1
2 Flûtes traversières, Piano 1
Cor anglais, Piano 1
Flûte, Violoncelle 1
Saxophone 1
2 Cors Anglais Et Pianoforte 1
Saxophone (partie séparée) 1
Saxophone Baryton, Piano 1
Saxophone Baryton 1
Flûte, Basson et Piano 1
Flûte à bec Alto, Piano 1
Flûte à bec Soprano, Piano 1
Flûte, Hautbois, Piano (trio) 1

+ 56 instrumentations

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Cuivres
Trombone et Piano 9
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 7
Quatuor de cuivres: 4 trombones 6
Trombone basse et Piano 6
Quatuor de Cuivres : 2 trompettes, trombone, tuba 4

Tuba et Piano 4
2 Trombones (duo) 4
Ensemble de Trombones 3
Euphonium, Piano (duo) 3
Trompette, Piano 3
Bass Clef Instruments 2
Quatuor de Cuivres: 2 trompettes, Cor, trombone 2

Trompette (partie séparée) 2
Trompette, Trombone (duo) 2
3 Trombones (trio) 2
Trombone 2
Tuba 1
2 Euphoniums (duo) 1
Cor anglais, Piano 1
2 Cors (duo) 1
2 Trompettes (duo) 1
2 Cors Anglais Et Pianoforte 1
2 Tubas (duo) 1
Cor et Piano 1
Trio de Cuivres 1

+ 20 instrumentations

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Cordes
Violon, Basse continue 42
Violoncelle, Basse continue 38
2 Violons et Basse continue 36
Violoncelle, Piano 31
Violon et Piano 27

Contrebasse, Piano (duo) 26
Violoncelle, Contrebasse (duo) 18
Quintette à cordes: 2 violons, alto, violoncelle, basse 18
Quatuor à cordes: 2 violons, alto, violoncelle 17
2 Violoncelles (duo) 15
Violon, Alto (duo) 15
Contre Basse 14
Violon, Basson (duo) 12
Violoncelle 12
2 Altos (duo) 11
2 Contrebasses (duo) 10
Trio à Cordes: violon, alto, violoncelle 9
Contrebasse (partie séparée) 9
Alto, Piano 8
Violon 8
Alto (partie séparée) 6
Violon (partie séparée) 5
Flûte, Contrebasse (duo) 5
Violon, Violoncelle (duo) 4
Alto seul 3
2 Violons (duo) 3
Alto, Violoncelle (duo) 3
Violoncelle (partie séparée) 2
Violoncelle , Guitare (duo) 2
Trio à Cordes: 2 violons, violoncelle 2
Harpe 1
Trio à Cordes: 3 violoncelles 1
2 Violons, Piano 1
Harpe, Flûte (duo) 1
4 Contrebasses 1

+ 30 instrumentations

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Percussions & orchestre
Orchestre à Cordes 27
Orchestre 22
Orchestre de chambre 17
Orchestre d'harmonie 12
Ensemble de cuivres 5

Ensemble de Percussions 2
Ensemble Jazz 2
Batterie 1

+ 3 instrumentations

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BASS Sonata

Quatuor de Cuivres: 2 trompettes, Cor, trombone

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2 partitions trouvées

Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir

Gabrieli: Canzona in Echo Ch. 180 for Double Brass Choir #Quatuor de Cuivres: 2 trompettes, Cor, trombone #INTERMÉDIAIRE #Giovanni Gabrieli #James M #Gabrieli: Canzona in Echo Ch. #jmsgu3 #SheetMusicPlus

Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...(+)

Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226488 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. Score and Parts. 51 pages. Jmsgu3 #822490. Published by jmsgu3 (A0.1226488). Minimum instrumentation: 4 Trumpets (or Cornets), 4 French Horns, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieliâ€™s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95 ≈ $64.71

Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir

Gabrieli: Canzon in Echo a 12 Ch. 192 for Triple Brass Choir #Quatuor de Cuivres: 2 trompettes, Cor, trombone #INTERMÉDIAIRE #Giovanni Gabrieli #James M #Gabrieli: Canzon in Echo a 12 #jmsgu3 #SheetMusicPlus

Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Ear...(+)

Brass Ensemble Horn,Trombone,Trumpet - Level 3 - SKU: A0.1226321 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 48 pages. Jmsgu3 #822323. Published by jmsgu3 (A0.1226321). Minimum instrumentation: 3 Brass Quartets - 6 trumpets in C (or cornets) 3 French Horns in F, and 3 trombones.Â InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics â€“ or was rather the first to indicate them such as in his Sonata Pianâ€™ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieliâ€™s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments â€“ which calls Sinfonia â€“ and smaller sections for vocal soloists, accompanied by a basso continuo.

$47.95 ≈ $64.71

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